무용수들의 관객인지에 따른 상태불안

Abstract

The objective of the present study was to survey dancers’ awareness of audience, and their state anxiety according to the awareness, and by doing so, to obtain data for improving the communication and the effect of dancers’ performances. For this study, we surveyed and analyzed state anxiety according to audience awareness in 255 dancers including 108 students majoring in Korean dance, 72 in ballet, and 75 in contemporary dance, and drew conclusions as follows. First, as to audience awareness and state anxiety according to personal characteristics, audience awareness according to major was higher in students majoring in ballet but the difference was not significant. On the other hand, state anxiety was significantly higher in students majoring in contemporary dance, followed by Korean dance and ballet. According to school year, audience awareness was highest in sophomores but the difference was not significant. State anxiety was highest in sophomores, followed by freshmen, seniors, juniors and graduate students, and the difference was significant. According to the frequency of performances, audience awareness was significantly higher in students performing once a month, followed by once in every six months, once a week, and once a year. On the other hand, state anxiety was high in students performing once a week, but the difference was not significant. Second, in the results of correlation and multiple regression analysis on audience awareness and state anxiety, audience awareness showed a significant correlation with state anxiety. As to state anxiety according to the sub‐factors of audience awareness, the “dancer‐centered” factor of audience awareness had a significant effect on strain and overstrain of state anxiety, and the “conversation with audience” factor of audience awareness had a significant effect on arousal and strain of state anxiety. As presented above, dancers’ audience awareness worked regardless of major and school year, but was very passive without flow and interaction with audience, and dancer‐centered performance had an effect on dancers’ state anxiety. Therefore, it is necessary to provide dance students with opportunities to attune themselves and interact with audience at least once a month even at a small theater so that they resolve anxiety about the stage and develop flow and confidence in performance. Furthermore, it is required to survey dance performers’ perception on audience in order to get information for enhancing the quality of dance performances, developing art performances recognizing audience’s potential, and providing important socio‐cultural materials.